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Browse scores with the Keyword: Notated
* note: This page only shows scores that have "Notated" explicitly listed as a keyword.
To find scores or pages that have more-than-one keyword, or to browse scores whose titles or pages also contain "Notated",
try using the Search Bar at the top of this page.
| 3x3
| (Jukka-Pekka Kervinen)
| for piano
| | Absent, Removed
| (Nick Hennies)
| Each note on the piano is played once; the duration of each pitch is determined by the length of decay
| | across
| (Jukka-Pekka Kervinen)
| for piano
| | as well
| (Jukka-Pekka Kervinen)
| for piano (or celesta/harp/violin)
| | At Once by Other Ones
| (Cristyn Magnus)
| for contrabass and optional interactive electronics
| | fragment 081709
| (Jukka-Pekka Kervinen)
| Open score for any number of instrument(s).
| | Great Piece (instead of GreatPiece or greatpiece)
| (Jane Doe)
| use examples that are given to you
| | Lamination
| (Cristyn Magnus)
| for flute and environmental sounds
| | Lives (2)
| (Nick Hennies)
| Various percussion instruments play single pitches, durations determined by decay
| | map 1
| (Jukka-Pekka Kervinen)
| open score for any number of instruments
| | Nympholepsy
| (Adam Scott Neal)
| solo flute - modern and fast-paced
| | Pantomime Grasshopper
| (Cristyn Magnus)
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| | Petrichor
| (Adam Scott Neal)
| clarinet and tape piece, sounds like a lazy, rainy summer afternoon
| | Scalar
| (Peter Bo Rappmund)
| In two parts: movement and drone.
| | Six Textures for Rock Quartet
| (Adam Scott Neal)
| indeterminate and mellow piece for keyboard, elec. guitar, bass guitar, and drum set
| | strings
| (emmanuel witzthum)
| String trio was composed as a set of variations to the song “Mama Yo No Tengo Visto” which is a 16th century Jewish ladino melody. In Hebrew the song is called “calmness”. In writing the work I deconstructed the song by separating the tones of the melody and what the melody was “meant” to convey metaphorically. With the tones I created a series of horizontal and vertical alternate melodies and sets which relate to one another in fields, with the “metaphorical” meaning I attempted to express a process of calming down. The work itself is devoid of rhythm, as such it focuses not on the act of “performing” the tone but on the space between the tones, in the silence that is borne out of the tones intent or potential. In addition the tones do not have articulation or dynamic markings so as to allow the performers as much flexibility for creativity and expression as possible. Without rhythm the piece does not have a fixed duration (as demonstrated by the durations of the two performances on the release), nor do the performers have to adhere to a fixed metronome. They instead should lead and follow, they should be capable to return to an essence of chamber music which I feel is lost in our times, of creating together, of a whole created by it parts, each time different, each time unique, each time without original. Without articulation or dynamics, the tones are equal, the performers decide how to play their tones while the score offers them only a framework within which their interpretations can be expressed. It is my hope with the release that musicians will take the score which is added to the LP and create their own renditions and interpretations of the piece be they acoustic or electronic. The release is a blueprint, an invitation to share and communicate - so too is the score. Emmanuel Witzthum 6.3.2011, Jerusalem
| | Tanka
| (Adam Scott Neal)
| cello solo - moderate difficulty, aggressive in character
| | untitled (1918-2000)
| (Nick Hennies)
| In memoriam Herbert Brün. Changes in resonance are caused by human consistency.
| | vier, 1-22 (2007)
| (stefan thut)
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